REINHARD RIEDEL on Craft, Intuition, and the Endless Pursuit of Perfection
- ARTISTIC HUB MAGAZINE
- Mar 10
- 7 min read
Updated: Nov 21
GERMANY
ART AS A THOUGHTFUL PROCESS
Some artists work not through impulse but through a deliberate process in which craftsmanship, intuition, science, and emotion come together with quiet precision. Reinhard Riedel belongs to that group. He carries the logic of numbers and algorithms from mathematics and computer science into his paintings and turns them into a carefully shaped artistic vision.
As a self taught artist, he has combined the craftsmanship passed down through his family with techniques he has refined over the years. His practice ranges from airbrush and pastels to oil and acrylic, enriched with metal leaf and marine varnish. His work is dynamic and shifts with light, perspective, and the rhythm of the viewer.
In this interview, he reflects on what art represents in the age of digital imagery, how craftsmanship continues to endure alongside technology and why perseverance carries the same weight as talent.
After a long career in IT management, you devoted yourself entirely to art, bringing together the analytical precision of a computer scientist and mathematician with the intuitive expressiveness of an artist. How did this unusual shift from the tech industry to the studio unfold, and in what ways has your diverse background shaped your creative process?
If we understand art in the broadest sense as any human activity shaped by knowledge, practice, imagination and intuition, then mathematics and computer science are naturally part of that field. Mathematics is an artificial construct, independent of the visible world, built on simple rules. It begins with numbers and numerical systems and forms a structured framework based on assertion and proof. Alongside algebra, geometry develops as the next organising element, moving through different dimensions yet following the same essential principles.
Computer science, on the other hand, creates an artificial reality that often becomes more tangible and influential than the physical one. It uses tools such as computers, software and the systems that grow out of them. These inventions begin as artificial constructs and gradually become part of daily life, as happened with the Internet. Every program and every technology first imposes a new environment on its users, which later becomes integrated into their habits. To me, this is a profound form of artistic creation. In a larger sense, it resembles the generation of a type of non biological life. The evolution of the Internet, Facebook or TikTok was never fully imagined at their beginnings, yet they grew in ways that resemble an organic process. This is where both the potential and the risks of artificial intelligence appear today. This artificially created world cannot simply be stopped. It emerges, develops, and moves forward, and its future form remains open.
At my core, I am not a technician but an artist, shaped by a childhood in a family of craftsmen. My path into computer science and mathematics makes sense when I look back. After my professional career, it felt natural to turn to the essential principles that form the basis of art.
As a self taught artist, you come from a family of craftsmen and have refined your skills in woodworking, blacksmithing and masonry over decades. How have these traditional crafts influenced your painting technique, and why do you believe that art emerges from craftsmanship?
Being shaped by craftsmanship means striving for mastery. Skill begins with trial and imitation, yet true expertise develops only when repetition leads to refinement. To be a professional means being able to recreate something consistently. Through repetition, one can compare, measure and improve. When an artist chooses to omit something intentionally and turns a lack of technical detail into a conscious expressive decision, craftsmanship becomes the foundation that opens the path to art.
Your work is strongly rooted in figurative motifs and realism, whereas abstract art has never truly resonated with you. What continues to fascinate you about the realistic depiction of the human figure and the fleeting beauty of youth, as opposed to abstract forms?
About fifty years ago, I opened an art book and instantly knew that I wanted to paint in the manner of Gottfried Helnwein. Not with his provocative themes, but with the fragile beauty of youth. When painting figuratively, especially with realistic intent, the artist leaves little room for interpretation. The work becomes definitive. The composition and, in the case of portraits, the subject either appeal to the viewer or they do not. Portraiture depends on nuances that cannot be repeated. The Mona Lisa is a clear example. Many have attempted to recreate that elusive expression, yet it remains, in my view, a fortunate moment within the larger composition. Much like life itself.
Abstract and non figurative art follow a different principle. Here, foundational techniques play a central role. Palette knife work, pouring, blending, textures, color qualities and other elements shape the final result. Masters in this field embrace the unpredictable effects that arise during the process and transform them into a complete work of art. Because it is not tied to realism, the viewer is free to interpret the piece in their own way. Whether or not the artist had a specific intention becomes less important.
Fashion photography and artistic photo manipulation have had a strong influence on your work. Which elements of this world inspire you the most, and how do you translate these visual concepts onto the canvas when composing your pieces?
Only beauty, the distinct qualities of a composition and whatever speaks to me directly. Artistic photo manipulation is becoming less central as a source of inspiration. With the constant growth of digital possibilities, especially through AI, I now encounter more ideas and visual impressions than I could ever translate into finished works.
Over the years, you have developed a multi layered painting technique, combining different media from airbrush and pastel to watercolor, oil and acrylic to create depth and tactile qualities in your works. You also incorporate traditional acrylic textures, metal leaf and even marine varnish to achieve unique texture effects that cannot be replicated by machines. What led you to this experimental approach, and how does it help your work stand out in an era dominated by digital imagery?
Painting techniques have a decisive influence on the final result. The filters in design programs that can turn a photograph into a watercolor, a pencil sketch or an oil painting make this very clear.
My intention has always been to use different painting techniques in a way that highlights their individual strengths. The composition, which is the true creative act, is developed digitally to define the idea. At this stage I do not focus on details such as smooth color transitions. That level of refinement takes place later, while I paint.
A designer’s image, created with every technical tool available, can be printed on paper or canvas with absolute precision. No realistic painter can replicate that degree of technical perfection. Yet the result remains flat. It has no depth, no texture and no natural reflection. Through my approach, I create a physical presence that a standard print cannot offer on a purely technical level.
It is remarkable that you currently work exclusively in a 38 by 38 centimeter format, assembling multiple pieces into larger polyptychs to offer viewers different visual perspectives and an interactive experience. What inspired this modular presentation approach, and how does it shape the way audiences perceive your art?
Life often unfolds through coincidence. Many years ago, I presented my sculptures at an art fair. They were life sized standing figures, realistic in style. Above them I had space for paintings, but only in small formats. After the pandemic, the stretcher bars I originally planned to use, which measured forty centimeters, were no longer available, so I chose thirty eight centimeters instead. Since a salon style hanging was not permitted at the fair, the idea of arranging them as a collage emerged. The challenge was to display as much as possible without violating the curator’s guidelines. A gallery later approached me and explained that they were less interested in single works but very intrigued by the collage concept.
For me, this approach opens every possible way to experience two dimensional art. Each piece stands independently, ideally framed with a shadow gap. They can be placed next to one another or stacked vertically, grouped by theme, by color or simply by intuition. Because they are square, they can also be rotated. Collectors can build their own artwork by selecting and arranging pieces according to their taste and can reshape the composition whenever they wish. The collage creates multiple visual axes that can feel slightly disorienting or introduce a sense of dynamic tension. Ideally, this produces a film like effect, as the viewer’s gaze never settles on one fixed image.
Based on your own experience, you have emphasized that achieving mastery in art requires years of dedicated work. You refer to the well known rule of approximately ten thousand hours of practice as being more crucial than pure talent. What advice would you give to young artists who are just starting their creative journey and searching for their own artistic expression?
The idea of ten thousand hours is simply another way of describing the point at which mastery begins. It represents the level of technical ability that can be reached through diligence and perseverance alone. A conductor once remarked that, with the necessary physical ability, anyone could learn to play an instrument within that time. Whether that person becomes a soloist or a Picasso is something that cannot be forced, no matter how much effort is invested.
I do not believe that a young artist needs advice from me. They will start somewhere, experiment, refine their work and, if they truly care about art, they will naturally reach those ten thousand hours. Through that process, they will develop craftsmanship and eventually discover their own artistic identity. We can only hope that commitment and perseverance will meet talent and inspiration, ensuring that the art world continues to be shaped by the Picassos of the future.
In an age in which digital technology increasingly shapes the art world, Reinhard Riedel remains firm in his belief that true art cannot be replaced, because it carries the touch and presence of the artist. His paintings are more than visual representations. They are dynamic compositions that change with light, perspective and the way each viewer approaches them.
His work brings precision together with emotion, craftsmanship together with artistic freedom. It offers no fixed interpretation and instead invites the viewer to form a personal narrative.
His message to those who are beginning their artistic path is simple and direct. There are no shortcuts to mastery. Only those who persist in their work, in their curiosity and in their learning will discover their genuine artistic voice.
